Scholars have long remarked on the frequency with which Japanese myths portrayed gods (kami) as old men or okina. Many of these “sacred elders” came to be featured in premodern theater, most prominently in Noh. In the closing decades of the twentieth-century, as the number of Japan’s senior citizens climbed steadily, the sacred elder of premodern myth became a subject of renewed interest and was seen by some as evidence that the elderly in Japan had once been accorded a level (...) of respect unknown in recent times. In Buddhism and the Transformation of Old Age in Medieval Japan, Edward Drott charts the shifting sets of meanings ascribed to old age in medieval Japan, tracing the processes by which the aged body was transformed into a symbol of otherworldly power and the cultural, political, and religious circumstances that inspired its reimagination. Drott examines how the aged body was used to conceptualize forms of difference and to convey religious meanings in a variety of texts: official chronicles, literary works, Buddhist legends and didactic tales. In early Japan, old age was most commonly seen as a mark of negative distinction, one that represented the ugliness, barrenness, and pollution against which the imperial court sought to define itself. From the late-Heian period, however, certain Buddhist authors seized upon the aged body as a symbolic medium though which to challenge traditional dichotomies between center and margin, high and low, and purity and defilement, crafting narratives that associated aged saints and avatars with the cults, lineages, sacred sites, or religious practices these authors sought to promote. Contributing to a burgeoning literature on religion and the body, Buddhism and the Transformation of Old Age in Medieval Japan applies approaches developed in gender studies to “denaturalize” old age as a matter of representation, identity, and performance. By tracking the ideological uses of old age in premodern Japan, this work breaks new ground, revealing the role of religion in the construction of generational categories and the ways in which religious ideas and practices can serve not only to naturalize, but also challenge “common sense” about the body. (shrink)

Rolling Stones guitarist Keith Richards has argued that rock and roll happens from the neck down. In this contribution to The Rolling Stones and Philosophy, edited by Luke Dick and George Reisch, I draw on neuroscience to argue that, in the parlance of John Stuart Mill, rock and roll is both a higher and a lower pleasure.

Excerpt from John Dewey: His Thought and Influence Any valid appraisal and criticism Of a man's thought, however, must well up from intellectual charity (sympathy, if you will) and not from either resentment fed by hearsay, or at best, superficial study, nor from partisanship. NO true understanding of a man's thought can be had unless we learn by critical and historical study to see how he came to put his questions in the way he did and give the answers (...) he gave to them. You need to go on and see how far a man's theory will really take you, and how much truth can be got out Of it, and just where and Why it breaks down. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Edward MacKinnon BORIS PASTERNAK'S CONCEPTION OF REALISM To desire truth is to desire direct contact with a piece of reality. To desire contact with a piece of reality is to love. —Simone Weil, The Needfor Roots According to czeslaw milosz, Boris Pasternak "did not pluck fruits from the tree of reason, the tree of life was enough for him. Confronted by argument, he replied with his sacred (...) dance." Pasternak's poetry, he concludes, is "antispeculative, anti-intellectual," and though he was compelled to make certain concessions in the course of writing Doctor Zhivago, speculative thought nonetheless remained for him a perennial and decided "adversary." ' However, the familiar and conveniently stark distinction between lyricist and thinker upon which such judgments depend is in fact both naive and tiresome since, plainly, creativity and reflection need in no way necessarily subvert one another. Accordingly, while it is indeed likely that the most valued feature of Pasternak's poetry and best prose is its detailed recording ofthe world's incessant change, of the magic and movement of weather and gardens, seasons and landscapes, Milosz is far from just in so readily and categorically dismissing any attribution of poetic thought to Pasternak. For as much as the whole of his poetry amounts to a celebration of life's small wonders, unrivaled in their greatness, there remains at bottom the inspiration of the thinker, of one who has seen and felt, but who at the same time has had to compile and consider in an attempt to make sense of the whole. As if in open challenge to Milosz, CM. Bowra notes that Pasternak's poetic sensibility is "both physical and intellectual." The mental states described in his poems, Bowra writes, "begin with sensations of the eye and ear but contain something else in their mental appreciation of the 211 212Philosophy and Literature situation," namely, his "gift for grasping abstract problems." 2 If Milosz remains unconvinced, and if Wladimir Weidle dismisses Pasternak's poetic thought as "puny and piteous," still more poets and critics have shared Bowra's view.3 Henry Gifford refers to Pasternak's "philosophical habit of mind," Ronald Hingley to the "pyrotechnics" ofhis "darting intellect," and Yury Lotman to his personal and "thoroughly professional philosophical culture." 4 In her review ofPasternak's My Sister, Life, meanwhile, Marina Tsvetaeva observes that "thought is what works in him, burrows in subterranean passages...." 5 And though Nadezhda Mandelstamclaims that the word of all poets "flows from a general, integrated view of the world," she acknowledges too that poets "vary in the range and depth of their understanding" and proceeds to cite Pasternak as her one example of a poet with a particularly unified worldview.6 If we were to agree with Francis Sparshott that "the fiercest hatreds spring from the closest relationships," we could assume in turn that the fundamental antagonism customarily alleged to obtain between the creative and critical faculties in fact indicates only some common, if confused, origin or inspiration.7 In creating, after all, it is predictable rather than idiosyncratic that the artist will be led to investigate the roots ofart within himself, tiiat he will be tempted by the urge to define, to entertain, that is, some rudimentary theory. And indeed, in Pasternak 's case, it is not simply a matter of his poetry and prose having been informed by certain tacit, if stray, aesthetic conceptions, but rather of his having supplemented his intensely thoughtful artwith aconcurrently developed theory. In this article, I want specifically to consider Pasternak's conception of realism, that standard of achievement which, according to his theory, constitutes the touchstone of all great art. In order more firmly to ground this notoriously vague and unwieldy notion, I will appeal not only to complementary theoretical conceptions of Pasternak's, but also to those central ideas advanced by Iris Murdoch in The Sovereignty of Good. My intention will be to locate Pasternak's brand of realism within what I take to be an identifiable tradition, or at least a conspicuous and pervasive theoretical tendency, according to which the most crucial criterion of artistic realism is judged to be not any properly physical aspect ofthe completed work, and certainly... (shrink)

This is a study of the rise of Hegelian thought throughout the intellectual world in Germany in the first half of the nineteenth century. The book has three interrelated purposes. First, it constitutes the first synthetic description and comprehensive reconstruction of the historical genesis and humanist transformation of Hegelian ideology. Secondly, the study addresses the problem of recurrent patterns of hope and disillusionment in the successive phases of dialectical thought. Finally, the book is concerned with ideological responses to the experience (...) of communal and religious disintegration. (shrink)

Completed shortly before her death in 2019, _Tragedy and Philosophy. A Parallel History_ is the sum of Agnes Heller’s reflections on European history and culture, seen through the prism of Europe’s two unique literary creations: tragedy and philosophy.

This collection of lectures by world-renowned philosopher Agnes Heller, edited and introduced by John Grumley, covers a range of political and cultural issues, from the highly topical to modern classics.

A masterpiece of critical theory available in English for the first time in jargon-free language for philosophers, political economists, and the general public interested in Marxism, capitalism and socialism.

Originally published in 1966, this volume reappraises the educational philosophy of Comenius. Until recently the attention given to Comenius and his work concentrated on a narrow interpretation of his pedagogy which played down his pansophic theory. In the second half of the nineteenth century Germany led the way in pedagogical study and Comenius was widely accepted as having laid the foundations of a science of education. The emergence of education as an academic subject in England and the USA led to (...) a considerable interest in the history of educational ideas and Comenius’ work. (shrink)

Abstract: Contrary to received opinion, Descartes' view on the merits of the ontological proof may actually agree with that of Thomas Aquinas, whose rejection of the a priori existence proof has stocked the armories of anti-Anselmians ever since. In a rarely noted passage of the First Replies, Descartes claims not to differ in any respect from Thomas on the proof, a claim that gains sense in light of recent work on the Fifth Meditation. That work in turn reveals a well-founded, (...) if surprising, understanding of the Cartesian proof and of Cartesianism's true relation to Thomism. (shrink)

A powerful case for the importance of universities as an antidote to the “secular dogmatism” that increasingly infects political discourse John Sexton argues that over six decades, a “secular dogmatism,” impenetrable by dialogue or reason, has come to dominate political discourse in America. Political positions, elevated to the status of doctrinal truths, now simply are “revealed.” Our leaders and our citizens suffer from an allergy to nuance and complexity, and the enterprise of thought is in danger. Sexton sees our (...) universities, the engines of knowledge and stewards of thought, as the antidote, and he describes the policies university leaders must embrace if their institutions are to serve this role. Acknowledging the reality of our increasingly interconnected world—and drawing on his experience as president of New York University when it opened campuses in Abu Dhabi and Shanghai—Sexton advocates for “global network universities” as a core aspect of a new educational landscape and as the crucial foundation-blocks of an interlocking world characterized by “secular ecumenism.”. (shrink)

This book examines the ways in which selfhood and cultural solidarity came to be understood and lived as historical identities during the 1800s. It examines the stages and conflicts in the process of 'becoming historical' through the works of prominent Prussian artists and intellectuals who attached their personal visions to the reformist agenda of the Prussian regime that took power in 1840. The historical account of the evolution of analogous and inter-related commitments to a cultural reformation that would create communal (...) solidarity through subjective identification with public memory is framed by the philosophical perspectives on historical selfhood provided by F. W. J. Schelling and his radical critics, Karl Marx and Søren Kierkegaard, thus drawing this story of building selves and communities in early nineteenth-century Berlin into debates about historical determined and contingently constructed identities. (shrink)

In the fifth of his Meditations on First Philosophy, Descartes offers a version of the ontological proof for the existence of God. As Caterus argues in the First Objections, however, it seems that if this argument were valid, then so also would be any number of absurd arguments, for insofar as Descartes infers that God exists from the fact that existence belongs to His essence, we should also be able to infer that other objects---the fictitious existing lion, say---exist on similar (...) grounds. Descartes's lone defense against this objection is to distinguish true and immutable essences from fictitious ones , a distinction that, in its details, seems to imply a realistic view of essences. Such a view of essences, though, conflicts with Descartes's explicit rejection of Platonism in the Principles of Philosophy , among other places. ;In this dissertation, I offer an interpretation of the Fifth Meditation that resolves this problem by treating true and immutable natures as nothing more than ideas, and I argue that, by a careful reading of several crucial yet rarely noticed texts, we can bring Descartes's cryptic and confusing Fifth Meditation claims under an anti-Platonic rubric. As an upshot of this interpretation, I propose an unusual reading of Descartes's ontological proof, one that draws it much closer to the proof of the Third Meditation and one that, in the end, forces us to reevaluate Descartes's connection to three great figures in the tradition of the ontological proof. St. Anselm, St. Thomas, and Kant. (shrink)

Constellations, Volume 28, Issue 3, Page 293-305, September 2021.

There is a phenomenology of the body worked out implicitly in Hegel's Phenomenology of Spirit, in which the full implications of a rejection of a dualistic conception of self and body are articulated. A concept of body can be derived from Hegel's analysis of life, according to which the body is the phusis, hexis and logos of the self, that is, it is the qualitatively determinate conditions--hexis--of un-self-conscious comportment to the world in and by which a situation is constituted which (...) allows immediate satisfaction for the self-conscious will--phusis--and which expresses the pre-reflective commitments of the self--logos. This is a dynamic concept, and its dialectic is one side of the dialectic of selfhood which is the explicit theme of the Phenomenology of Spirit. In its dialectic, the body develops through stages in which each one of these moments in turn takes precedence. The three stages are the natural body, the institutional body, and the self-communicative body. ;Chapters 1 and 2 develop the adequate concept of self-conscious selfhood by analyzing, respectively, Chapter IV, Section B, "Freedom of Self-Consciousness," and Chapter V, "Reason." Chapter 3 develops the concept of body in relation to self-consciousness based on an analysis of the sections of Chapter IV, "Self-Consciousness" which deal with "Desire," "Life" and "Independence and Dependence of Self-Consciousness," and considers natural embodiment. Chapter 4 analyzes Chapter VI, "Spirit," to develop the notion of institutional embodiment. Chapter 5 analyzes Chapter VIII, "Absolute Knowing," to develop the concept of self-communicative embodiment. ;The conclusion of the Hegelian phenomenology of the body is that self-conscious selfhood can only be adequately embodied by a situation in which the totality of its otherness constitutes a living system of signs, the very life of which is the process of coming to self-understanding as such a system. The dialectic of body is the process of the body's overcoming of its own naturalness, and the bringing of itself to self-consciousness as mind. (shrink)

The objectives of this book are to provide a new translation of Plato's M eno together with a series of studies on its philcisophical argument in the light of recent secondary literature. My translation is based mainly on the Oxford Classical Text, 1. Burnet's Platonis Opera (Oxford Clarendon Press 1900) Vol. III. In conjunction with this I have made extensive use of R.S. Bluck's Plato's Meno (Cam bridge University Press, 1964). At critical places in the dialogue I have also consulted (...) A. Croiset's Gorgias, Menon (Bude text). My debt ~o two other sources will be clearly in evidence. They are E.S. Thompson's Plato's Meno (London, MacMillan 1901), and St. George Stock's The Meno of Plato (Oxford Clarendon Press, 1894). One of the greatest difficulties facing a translator is to achieve a balance between accuracy and elegance. Literal translations are more likely to be accurate, but, alas, they also tend to be duller. Free translations run into the opposite danger of paying for elegance and liveliness with the coin of inaccuracy. Another hurdle, for a translator of a Platonic dialogue, is posed by the challenge to maintain the conversational pattern and fast moving character of the discussion. This is easier where the exchang~s are short, but much more difficult where Socrates gets somewhat long-winded. (shrink)